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이기열 ( Gi Yeal Lee ),강병석 ( Byoung Suk Gang ) 한국기초조형학회 2012 기초조형학연구 Vol.13 No.4
현대의 디자이너들은 아름다움에 대한 인식의 변화와 내재된 미의식을 효과적으로 표현하기 위하여 상징화된 이미지를 사용하고 있다. 이러한 디자이너의 본질적인 상징의 추구는 대상과 사물에 대한 새로운 시각을 갖게 할 뿐만 아니라 다양한 미적 활동을 가능하게 해준다. 무엇보다도 시각적인 항상성에서 벗어나 의도된 형태로 새로운 시각적 효과를 추구하게 되며, 상대적으로 표현 가능한 대상을 통해 고정된 형식을 탈피하여 기호화된 상징성을 바탕으로 함축되게 된다. 이러한 상징적인 표현을 위해서는 얼굴이나 바디, 오브제의 표현의 수단이 의미론적인 상징으로 패션 디자인에 적용되게 된다. 이러한 상징적 이미지들을 시각적 표현 방법에 따라 분류하면 추상을 통한 상징, 대상을 통한 상징, 문자를 통한 상징으로 나눌 수 있으며, 그 표현요소들을 3가지의 조형적 특성으로 분석된다. 상이한 구조들로 추상적인 형태의 확장, 인식 가능한 대상을 통한 구성의 전환, 기호, 텍스트를 통한 상호 결합적 특성이 나타난다. 형태의 확장(擴張)은 기존에 가지고 있던 형태를 확대, 과장을 통해 조형적 형태의 구성과 기존에 패션이 가지고 있던 역할을 전복시켜 새로운 시각적 의미로 상징화시켜 나타내기 위한 역할로 이용되고 있다. 구성의 전환(轉換)은 기존의 경계를 이탈하여 새로운 사물과 공간에 복합적으로 놓임으로서 전환되어진 기능을 상징적으로 보여주고 있다. 상호적 결합(結合)은 상징을 위한 대상물이나 텍스트와의 상호 결합을 통해 간접적인 의미 표현과 언어작용의 조합을 통해 바디에 기호들이 은유적으로 결합되어 나타난 것이라고 할 수 있다. 이와 같이 패션에 나타난 상징적 이미지는 고정된 형식을 탈피하고 결합의 원리를 재구성함으로서 상징적 표현이 기호와 같이 함축적 의미를 나타내고 있음을 알 수 있다. 또한 기존의 형식을 벗어난 시각적 상징은 미래적 표현 방법의 차별적 가치를 모색하고 기호체계의 원리를 토대로 조형가치를 향상시키는데 큰 영향을 미칠 수 있을 것이다. Modern designers use symbolized images in order to effectively express the changed perception of beauty and the latent aesthetics. Above all else, they try to purse new visual effects that goes beyond visual imaging to an intended format. Generally for symbolization, objects that can be relatively easily expressed are used to go beyond fixed formats in order to combine them and converge them. Methods for expressing the face, body or objet in order for such symbolic expression are made through semantic symbolization. When categorizing the symbolic images that appear in modern fashion design since the 1900s, depending upon the method for visual symbolic expression, they can be categorized into symbolism via abstraction, symbolism via the object, and symbolism via semantics. The formative features that appear in the mutual relationship and expression factors of such expression methods can be grouped into one of three formative features. They can be categorized into the extension of format as a structure that is abstractly different from the existing, change of composition through the module that can be combined, and the metaphorical combination through symbols and texts. Extension is used to overthrow the traditional roles of fashion and the composition of formative features through expanding and exaggerating the existing format in oder to symbolize the status of the wearer. Change of composition derails from existing borders to place in combination with new objects and spaces in order to symbolically show the changed functions. Metaphorical combination is the metaphoric combination of symbols on the body through the combination of indirect expression of meaning and linguistic effects through reciprocal combination of the object or text for symbolization. Like the above, symbolic images that appear in fashion breaks free from fixed formats and restructures the principles of combination, and thus, it is evident that symbolic expression is being conducted in various manners. In addition, visual symbolism that is not fixed in existing formats will have a great effect on searching for differentiated value of future-oriented expression method, while enhancing the formative values based on aesthetic principles.
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강병석,류근종 홍익대학교 산업디자인 연구소 2003 미술디자인 논문집 Vol.- No.8
The old display has primarily been focused on the aspect of the formative arts rather than on the process of merchandising planning. In recent years, however, the role of professional displayer for visual expression has been getting more and more important by standing out the display itself into bold relief as a direct factor to have a great influence on the sale The effective display is to express the value of a commodity properly. to provide consumers with its information. to make a contribution to promoting its selling and to upgrade a degree of recognition of the brand as well as the shop image according to the main points of its planning. It can be safely said that the display is a strategy that expresses a commodity visually and arouses the willingness for customers to buy it. This study in the V.M.D. status of the domestic fashion brand is suggestive of distinctive features which are a little different from the precedent studies or theories. Compared with the old studies or theories, the most striking contrast lies in the process of obtaining information about fashion, which results from the rapid development and wide use of the Internet. This study also can identify different opinions both on the moving-line plan and on the use of stage properties for the display in the shop in contrast with the old theories It is needless to say that I am not sure that this study reflects the general opinion of all the domestic displayers of fashion brand, not only because its scope is very limited and its method much different from old studies but because the brand name of 'Hand some' corporation, SYSTEM, as a subject of this study has its own unique characteristic. As the brand name of SYSTEM, however, has already preoccupied the market and had an apparent concept, it would be desirable for enterprises or displayers who have similar concept or objectives to the SYSTEM to have an interest in the SYSTEM brand and its display. This study is proceeded with a new approach to delve into the current display, but it has also limitations and limits. The method of the study organizes the content from questions and interviews based on the precedent studies but neither suggests the answer nor develops the verifiable tools to the problems. In this respect, I expect the mature and advanced researches with the better and more qualitative method of the study afterwards.
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